“Julianne Swartz’s work is bewitchingly,
beautifully formal. Which is to say it’s about
forms in space and how we perceive them.
It’s about materials and textures. It’s about
gravity, air, light, shadow,” says art critic
Sebastian Smee in response to Swartz’s
“smart, heartfelt, delicately frayed aesthetic.”

At first glance, you could mistake them for “the real thing”- bronze idols of Hindu female
deities. And in many respects, not just resemblance, that is exactly what they are. Siri
Devi Khandavilli models her sculptural images using traditional formulae to portray the
female goddesses of the vast Hindu pantheon, a vocabulary that has endured through
millennia. The work is produced in a traditional Indian village foundry, where
relationship, method, and tools have changed little since the Bronze Age. Khandavilli
honors the tradition and, with the poodle in place of the goddess, adds a skeptical subtext,
ultimately melding the global contemporary world, the religious with the secular, and her
own hybrid identity of Indian and American, traditional and modern, creating a tension
that forms the work’s edge.

Swartz’s recent works urge us to observe
both the physical conventions of the gallery
experience and the abiding mysteries of
human perception and sensation. Her
Sound Drawings are delicate interlacings
of functioning electrical wire; Lace Skin (1),
an ingenious construction of live wires and
speakers, carries four channels of sound
throughout its molecular structure. The
soundtrack that moves through the tapestry
is a collage of bits of human utterance and
other textural sounds woven together, and
the work is purposely at human scale, says
the artist, suggesting “the shape of a hide,
or skin.” Swartz’s sound drawings are
vertical line drawing in space, emitting tiny,
atmospheric sounds.
“I am interested in the intersection of the
physical and non-physical, and making what
is not physical somehow palpable,” says
Swartz.
Smee continues, “Most of Swartz’s work
is marked by a modesty that’s in line with
it’s feeling for human connection. It’s work
that, ultimately, is about love. It can seem
incomplete when first encountered - lacking
a necessary component that’s hard to put
your finger on - until you realize it is you.”

SIRI DEVI KHANDAVILLI
At first glance, you could mistake them for “the real thing”- bronze idols of Hindu female
deities. And in many respects, not just resemblance, that is exactly what they are. Siri
Devi Khandavilli models her sculptural images using traditional formulae to portray the
female goddesses of the vast Hindu pantheon, a vocabulary that has endured through
millennia. The work is produced in a traditional Indian village foundry, where
relationship, method, and tools have changed little since the Bronze Age. Khandavilli
honors the tradition and, with the poodle in place of the goddess, adds a skeptical subtext,
ultimately melding the global contemporary world, the religious with the secular, and her
own hybrid identity of Indian and American, traditional and modern, creating a tension
that forms the work’s edge.

DAMION
BERGER
In contrast to the fleeting trajectories of powerful
pyrotechnic explosions documented in his Black
Powder series, Damion Berger’s latest series of
photographs Vessels is the genesis of a delicate
interplay of time and movement – all-night-long
exposures of sailing yachts, mega-yachts or cruise
ships at rest, drifting around their anchors at
the mercy of the wind and currents, against the
backdrop of a dark Mediterranean sea.
Leaving the camera’s shutter open throughout
the hours of darkness while stopping the lens
down to the smallest aperture of f/64, only the
brightest point-sources of lights affixed to the
ship’s superstructure register on the negative,
recording arcs of movement and rotation as the
lights bob up and down with the waves akin to
an electrocardiogram, while plotting a slow and
variable circumnavigation around its anchor.
Printed in the negative, the resulting photographs
are like layered line drawings whose geometry is
proportionate to the degree of a boat’s movement
over time and the arrangement of its lights.
Occasionally figurative but mostly abstract or
architectural in form, these vessels appear as
perfect islands, angular semi-spherical structures
or UFO’s, whose presence seems in stark
juxtaposition to the contemplative context of the
expansive seascape and distant horizon.

DAMION
BERGER
In contrast to the fleeting trajectories of powerful
pyrotechnic explosions documented in his Black
Powder series, Damion Berger’s latest series of
photographs Vessels is the genesis of a delicate
interplay of time and movement – all-night-long
exposures of sailing yachts, mega-yachts or cruise
ships at rest, drifting around their anchors at
the mercy of the wind and currents, against the
backdrop of a dark Mediterranean sea.
Leaving the camera’s shutter open throughout
the hours of darkness while stopping the lens
down to the smallest aperture of f/64, only the
brightest point-sources of lights affixed to the
ship’s superstructure register on the negative,
recording arcs of movement and rotation as the
lights bob up and down with the waves akin to
an electrocardiogram, while plotting a slow and
variable circumnavigation around its anchor.
Printed in the negative, the resulting photographs
are like layered line drawings whose geometry is
proportionate to the degree of a boat’s movement
over time and the arrangement of its lights.
Occasionally figurative but mostly abstract or
architectural in form, these vessels appear as
perfect islands, angular semi-spherical structures
or UFO’s, whose presence seems in stark
juxtaposition to the contemplative context of the
expansive seascape and distant horizon.

CLAUDIO DICOCHEA
Claudio Dicochea’s mischievous and multilayered paintings are based on 18th century
casta paintings, the historic genre popularized in colonial Mexico to record the racial
mixing taking place in the New World. Dicochea uses original castas as templates to be
distorted, enlisting both lowbrow and high-art stereotypes. The original characters are
replaced by archetypes from popular media, comics, and world history to create bizarre
family portraits that examine how power relationships affect contemporary structuring of
cultural identity.
In his most recent work, Dicochea
finds inspiration and commonality
with the art of deejaying, which
is concerned with the merging of
several distinct elements through
combinations, overlap, and connecting
seemingly disparate characters to
create something new.
The characters in the familial unit in the
image to the left are Morrissey (Agent
Smith) and Juan Gabriel (Noa Noa)
with their child Gustavo Dudamel
(Joven Conductor). Juan Gabriel is an
openly gay Mexican singer/songwriter
encompassing many genres, including
exceedingly patriarchal ones like
Mariachi, Banda, and ranchera. He
now serves as a cultural idol after
breaking into the Mexico City scene in
the 1970s. “Noa Noa” is one of his most
popular songs. Morrissey is an English
singer/songwriter who achieved icon
status in the 1980s as part of The
Smiths. Gustavo Dudamel is the current conductor of the Los Angeles Philharmonic. He
was born and raised in Venezuela where he participated in a program called El Sistema
that taught classical music to youth in poverty stricken areas.
The painting references graphic novels, rappers, Mayan architecture, Star Wars, Star
Trek, The Matrix, and Stanley Kubrick’s work all under the exclamation of “Cumbia!” a
music genre based in African and American Indigenous rhythms and tonal shifts.
Claudio Dicochea: de Heart of Darkness (from Heart of Darkness), 2013, acrylic, graphite, charcoal, transfer, wood, 48” x 36”

One senses supernatural growth in the work of Jennifer Trask, as though these wild
conflagrations of glimmering and ghost-pale flowers, pods, branches and vines had
sprouted from an enchanted seed. From the ancient and glowing materials—bone,
antler, and teeth, antique wooden frames, gold plating—to the exponentially multiplying
ornament, crowding around a frame or climbing along the wall, Trask’s objects emit an
unmistakable air of magic.
Trask practices a singular kind of alchemy:
She could tell you the number of days
peroxide-cured antler must dry in the sun,
or the species of tree leaf depicted along a
17th century Italian picture frame, or the
solution of vinegar in which one might
soak a python bone in order to make it
pliable enough to form the pinprick of
a chrysanthemum petal. These spells
Trask casts is in fact a remarkable feat of
cultivation and craftsmanship.
Yet her work is defined less by these specific
crafts as by the accumulation of varied and
exquisite parts. For Trask, the work of
finalizing a piece—joining the weathered
frames and bone-petals, leaf-spiked antlers
and deep pools of graphite—is as intuitive
as the preceding work is methodical. Alone
in her studio during this time, she’s guided
by the history of art and ornament, her
fascination with biological matter and its
mysteries, and even “a certain romanticism
and cynicism” she has recognized is at odds
in her work.
Uniting bone and botany is a trademark of the tradition of vanitas, 17th century Dutch
still-life paintings alluding to the transience of life, and the presence of death in all organic
matter. The parallels with Trask’s work is apparent, and the artist remarks, “Vanitas is
interesting to me because it became an object of vanity itself… Beauty is a lure, I do it in
my work and they were doing it in theirs. We use beauty to pull people in.”

ANGELA ELLSWORTH
As a choreographer of innovative artistic happenings and maker of remarkable sculptural
objects, Angela Ellsworth’s recent work channels the dreams of a young America at a
time when the expansive possibilities of the land gave rise to radically new ideas about
community and spirituality. The artist’s performances and related objects articulate, in a
language both startling and poetic, how systems of family, sexuality, and power manifest
in American life, past and present. Representative of both her conceptual inventiveness
and obvious skill as a maker, the Seer Bonnets epitomize the fearlessness of Ellsworth’s
project as an interdisciplinary artist.
As a fourth generation Mormon, Ellsworth grew up in Salt Lake City, Utah. She is
the great, great granddaughter of Lorenzo Snow, the fifth prophet and president of the
Church of Jesus Christ of Latter Day Saints and husband to nine plural wives. Ellsworth’s
outspoken, high-profile work—along with her feminist and queer identity—stand
in opposition to much of the Church’s teaching. Her lifelong endeavor mines personal
experiences and aesthetic juxtapositions to bring about striking encounters between the
emotional and the absurd.
The Seer Bonnet objects themselves are exquisite: a series of intricately fashioned corsagepin bonnets with long, dramatically draping straps, these pieces are innate objects of
desire. The nacreous sheen of their surfaces give way, upon closer examination, to
precise circular patterns referencing “Seer Stones,” early LDS oracular objects. Perhaps
most breathtaking of all are the bonnets’ interiors, a threatening array of gleaming steel
pinpoints, as terrifying as their reverse side is alluring. The bonnet forms seem a perfect
encapsulation of all the exhilaration and joy of unconquered territory, along with the
perils of unrestrained ambition and desire.